In setting La Serva padrona to his own music, Paisiello showed he knew he was a composer to be reckoned with and he made the point again when he revised Pergolesi's Stabat Mater. In Paisiello's La Serva padrona, the protagonist is given a new aria "Donne vaghe i studi nostri", (taken from Goldoni's Le Virtuose ridicole 1752), and two new duets, (authors unknown), are added, bringing the intermezzo closer in concept to opera buffa. The intermezzo for two voices was a defunct genre by this time but Paisiello decided to revive it: indeed, the composer was clearly adapting to the new, lachrymose style popular with middle-class audiences which had arrived with La Buona figliuola by Goldoni-Piccinni (1760). The present edition differs from other recorded versions in that it is based on an unpublished critical edition for performance with period instruments, pitch at 415 Hz and no cuts to the recitatives or pezzo chiuso numbers.
In setting La Serva padrona to his own music, Paisiello showed he knew he was a composer to be reckoned with and he made the point again when he revised Pergolesi's Stabat Mater. In Paisiello's La Serva padrona, the protagonist is given a new aria "Donne vaghe i studi nostri", (taken from Goldoni's Le Virtuose ridicole 1752), and two new duets, (authors unknown), are added, bringing the intermezzo closer in concept to opera buffa. The intermezzo for two voices was a defunct genre by this time but Paisiello decided to revive it: indeed, the composer was clearly adapting to the new, lachrymose style popular with middle-class audiences which had arrived with La Buona figliuola by Goldoni-Piccinni (1760). The present edition differs from other recorded versions in that it is based on an unpublished critical edition for performance with period instruments, pitch at 415 Hz and no cuts to the recitatives or pezzo chiuso numbers.
8007068257829

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Format: CD
Label: BONGIOVANNI
Rel. Date: 06/12/2020
UPC: 8007068257829

Serva Padrona
Artist: Paisiello
Format: CD
New: Available to Order - Not In Our Store 16.99
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1. La Serva Padrona, R 1.63, Act I: Sinfonia (Live)
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2. La Serva Padrona, R 1.63, Act I: Aspettare E Non Venire (Live)
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3. La Serva Padrona, R 1.63, Act I: Questa È Per Me Disgrazia (Live)
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4. La Serva Padrona, R 1.63, Act I: Ma Quando La Finisci (Live)
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5. La Serva Padrona, R 1.63, Act I: Olà, Dove Si Sta? (Live)
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6. La Serva Padrona, R 1.63, Act I: Sempre In Contrasti Con Te Si Sta (Live)
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7. La Serva Padrona, R 1.63, Act I: In Somma Delle Somme (Live)
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8. La Serva Padrona, R 1.63, Act I: Stizzoso, Mio Stizzoso (Live)
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9. La Serva Padrona, R 1.63, Act I: Benissimo. Hai Tu Inteso? (Live)
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10. La Serva Padrona, R 1.63, Act I: Lo Conosco (Live)
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11. La Serva Padrona, R 1.63, Act II: Donne Vaghe I Studi Nostri (Live)
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12. La Serva Padrona, R 1.63, Act II: Or Che Fatto Ti Sei (Live)
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13. La Serva Padrona, R 1.63, Act II: Donne Infeste All'altrui Bene (Live)
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14. La Serva Padrona, R 1.63, Act II: Io Crederei Che La Mia Serva Adesso (Live)
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15. La Serva Padrona, R 1.63, Act II: A Serpina Penserete (Live)
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16. La Serva Padrona, R 1.63, Act II: Ah! Quanto Mi Sa Male (Live)
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17. La Serva Padrona, R 1.63, Act II: Ah Poveretta Lei (Live)
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18. La Serva Padrona, R 1.63, Act II: Son Imbrogliato Io Già (Live)
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19. La Serva Padrona, R 1.63, Act II: Favorisca, Signor (Live)
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20. La Serva Padrona, R 1.63, Act II: Contento Tu Sarai? (Live)
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More Info:

In setting La Serva padrona to his own music, Paisiello showed he knew he was a composer to be reckoned with and he made the point again when he revised Pergolesi's Stabat Mater. In Paisiello's La Serva padrona, the protagonist is given a new aria "Donne vaghe i studi nostri", (taken from Goldoni's Le Virtuose ridicole 1752), and two new duets, (authors unknown), are added, bringing the intermezzo closer in concept to opera buffa. The intermezzo for two voices was a defunct genre by this time but Paisiello decided to revive it: indeed, the composer was clearly adapting to the new, lachrymose style popular with middle-class audiences which had arrived with La Buona figliuola by Goldoni-Piccinni (1760). The present edition differs from other recorded versions in that it is based on an unpublished critical edition for performance with period instruments, pitch at 415 Hz and no cuts to the recitatives or pezzo chiuso numbers.